Top 10 Soundtracks You Didn't Know Were Composed by Ludwig Göransson

#10: “The Odyssey” (2026)

Christopher Nolan has helped make rock stars of film composers like Hans Zimmer. But after two collaborations, including the Oscar-winning score for “Oppenheimer,” Ludwig Göransson isn’t one of the main draws for 2026’s “The Odyssey.” As one of the primary artistic architects of this Homeric epic, Göransson has scope to let his imagination run wild. Following Nolan’s vision, his work marries period authenticity with ethereal soundscapes to craft an expressionistic tone befitting an Ancient Greek fantasy. Nolan trusted Göransson’s brilliant merging of tradition and invention to make his Hollywood epic feel unlike any other. Many expect “The Odyssey” to be the masterpiece that makes Göransson a household name, although it’s been a long, well-earned process.

#9: “We're the Millers” (2013)

A mighty composer’s humble Hollywood breakout turned out to be a big deal. “We're the Millers” was actually the first soundtrack on which Ludwig Göransson was credited alongside his mentor Theodore Shapiro. The lowly assistant worked his way up from writing additional music for hit flicks like “Marley & Me” and “Jennifer’s Body.” Granted, this raunchy road romp is more focused on cheeky needle-drops than its less-than-original original bumper music. “We're the Miller’s” box office success and cult following still look good on a budding resume. And with the Dwayne Johnson-Kevin Hart vehicle “Central Intelligence” relying more on music to drive its action comedy, the Shapiro-Göransson collab established a new name of note in Hollywood music.

#8: “Top Five” (2014)

Ahmir “Questlove” Thompson surely got top billing on “Top Five’s” music credits. Chris Rock’s semi-autobiographical showbiz comedy is also a groovy showcase of The Roots drummer’s jazzy hip-hop style, beating on the heart of modern New York City. Looking back, however, much of the melodic electronics that guide the film’s tonal dynamics sound distinctly Göransson. Ever since Rock personally hired him to score 2014’s “Top Five” with Questlove, Göransson has earned even wider recognition as one of the most cinematic hip-hop composers in films today. Can we be forgiven for ranking him in the top five, perhaps?

#7: “The Town That Dreaded Sundown” (2014)

Texarkana, Arkansas is really gripped in fear on the 38th anniversary of the slasher classic “The Town That Dreaded Sundown.” And Göransson helps set that dread with his first soundtrack in the horror genre. Blumhouse and Ryan Murphy’s meta-sequel actually utilizes music sparingly in order to build realistic tension in the Phantom Killer’s latest bloody rampage. When it is featured, the industrial rhythm and eerie ambiance elevate the tone beyond the usual slasher stings. 2014’s “The Town That Dreaded Sundown” has achieved its own cult status for that kind of subtle inventiveness down to the sounds. Göransson’s work in thrillers would only cut deeper as it got grander.

#6: “Death Wish” (2018)

Critics pulverized Eli Roth’s one-off reboot of “Death Wish” into obscurity for changing little about the original’s controversial take on vigilantism. At least Göransson brought his own stamp to a franchise that has been scored by the likes of Herbie Hancock and Jimmy Page. Roth’s roots in intense horror translates into Bruce Willis’s quest for revenge by way of industrial drones and stings. And when he springs into action, Göransson makes the violence feel even more brutal. To what extent that can be considered a good thing for such a divisive thriller, the dramatic punch that its music packs is more than we could wish for.

#5: “Turning Red” (2022)

The spotlight for this Pixar gem’s soundtrack was largely directed at 4*Town’s dreamy boy band jams, written by Billie Eilish and Finneas O’Connell. Plus, “Turning Red” downplays Ludwig Göransson’s musical signatures to ingenious effect. The hip-hop elements feel more youthfully energetic, and the melodies tuned more to the extremes of a cartoon coming-of-age. It's all wrapped around extensive homages to Chinese folk and classical, rounding out a versatile tone that captures Mei Lee’s drive to reconcile her identity. It's almost hard to believe that audiences missed all the hype surrounding Göransson’s first animated film score. That says a lot about his artistic range and how it can tell unique stories with care.

#4: “Venom” (2018)

The kick-off to this polarizing superhero trilogy didn’t just hire Göransson for his name. He and director Ruben Fleischer had previously worked together on the wild action comedy “30 Minutes or Less,” Göransson’s first feature film project. This duo understood how to mix dark energy and alien eeriness to distinguish the comic book grandeur in “Venom’s” tone. Unfortunately, the rest of the film is so generic that Sony did treat Göransson like a composer-for-hire. He was replaced by Marco Beltrami for “Venom: Let There Be Carnage,” who was replaced by Dan Deacon for “The Last Dance.” But if you’re hearing distinctive musical themes hovering over the trilogy’s shoulder, then give Göransson proper credit.

#3: “Trolls World Tour” (2020)

Prince of Pop Justin Timberlake needed to go bigger for the sequel to 2016’s monster hit “Trolls.” But while he co-produced the first movie’s soundtrack many big names, Ludwig Göransson mostly helped map out “World Tour.” He didn’t even compose the film’s underscore. That, as well as an extensive producing resume, speaks to the diverse musical sensibilities Göransson was expected to bring. And he did not disappoint, often single-handedly rearranging pop hits for cinematic family fun. Jukebox musical covers aside, he also co-wrote the platinum original single “The Other Side” for Timberlake and SZA. “Trolls World Tour” showed that Göransson is not just a gifted classical composer, but an unsung pop hitmaker.

#2: “Community” (2009-15)

Ludwig Göransson’s first big gig out of college was… college! Theodore Shapiro referred his talented assistant to NBC’s “Community” for his first lead composer credit, which delivered a unique mix of indie, rock, and anything else. This evidently made an impression on the sitcom industry. In 2011, Göransson began scoring ABC’s “Happy Endings” and Fox’s “New Girl.” Moreover, “Community” introduced him to comedian and actor Donald Glover. Their creative partnership would turn Childish Gambino into one of the most acclaimed acts in hip-hop, with 2018’s “This Is America” being the first song in that genre to win the Grammys for Song and Record of the Year. Don't discount what you can get out of community college.

#1: “Fruitvale Station” (2013)

As celebrated as the relationship between Göransson and writer-director Ryan Coogler is, not many know how far back it goes. They might not even recall that Coogler’s feature debut “Fruitvale Station” has a score, considering the gritty realism in how it portrays the last day of Oscar Grant III. The music respects that with an ambient minimalism that builds on the tenderness and tension of this remarkably human tragedy. “Fruitvale Station’s” acclaim led to bigger things for two talented friends from the University of Southern California. There's no overlooking the epic soundtracks for Coogler’s “Creed,” “Black Panther” series and “Sinners.” And there should be no overlooking Ludwig Göransson in the music credits.

What are your favorite Ludwig Göransson soundtracks? Break it to us in the comments below.